Texto 4

– Você está se sentindo mal? – perguntou a ela.

Remedios, a bela, que segurava o lençol pelo outro extremo, deu um sorriso de piedade.

– Pelo contrário, – disse – nunca me senti tão bem.

Acabava de dizer isso quando Fernanda sentiu que um delicado vento de luz lhe arrancava os lençóis das mãos e os estendia em toda a sua amplitude. Amaranta sentiu um temor misterioso nas rendas das suas anáguas e tratou de se agarrar no lençol para não cair, no momento em que Remedios, a bela, começava a ascender. Úrsula, já quase cega, foi a única que teve serenidade para identificar a natureza daquele vento irremediável e deixou os lençóis a mercê da luz, olhando para Remedios, a bela, que lhe dizia adeus com a mão, entre o deslumbrante bater de asas dos lençóis que subiam com ela, que abandonavam com ela o ar dos escaravelhos e das dálias.

MARQUEZ, Gabriel García. Cem anos de solidão (fragmento). Rio de Janeiro: Editora Sabiá Ltda., 1969, p. 212, com adaptações.

Desse fragmento, a conjunção “ que” introduz uma oração

Texto 5.

HORACE WALPOLE, an 18th-century British author and collector, wrote that William Kent “was so much consulted by all who affected taste that nothing was thought complete without his assistance”. Kent was both prolific and polymathic—an architect, sculptor, painter, decorator and designer who dazzled Georgian Britain with his glitzy brand of Palladianism.

His surviving work includes the Treasury and Horse Guards buildings in London, and the interiors and furniture for some of Britain’s treasure houses, including Chiswick House in west London and Houghton Hall in Norfolk. The British artist was the originator of the English landscape garden and was responsible for the reintroduction of Palladian architecture to the country. The newly installed Hanoverian royal family became patrons: he was commissioned by Queen Caroline, wife of George II, to create a library at St James’s Palace, and by Frederick, the king’s eldest son, to design a royal barge. So why has Kent spent the better part of the two-and-a-half centuries since his death being largely disregarded?

A principal reason is that even during his lifetime he was divisive. William Hogarth, a satirical printmaker and a self-appointed champion of Britishness, despised the Italianate Kent. Hogarth called him a “contemptible dauber” and, in a popular print titled “The Bad Taste of the
Town”, showed “KNT” at the apex of the many follies unfurling over London. By the time Kent died in April 1748 the fickle eye of fashion had moved on to the neoclassicism of the Adam brothers and the Gothic revival. Obituaries were perfunctory: most took the same tone as the General Advertiser, which brusquely reported that Kent had died “of a Mortification of his Bowels”.

A new show aims to bring “Kentissime”—a term coined by Walpole—back to the limelight. The exhibition is the third in a collaborative series of monographs exploring Georgian “tastemakers”, organised by the Victoria and Albert Museum in London and the Bard Graduate Centre in New York. It sketches out Kent’s career, from his humble start as the son of a rural joiner and his first job as a coach-painter in Hull. It shows how his fortunes changed at the age of 23 when benefactors sent him to Italy. He returned a decade later as a favourite of the third Earl of Burlington, a young, fantastically wealthy gentleman architect with a deep desire to become the central arbiter of British taste. It was under his patronage and influence that Kent became one of the most sought-after designers and landscape gardeners of the day.

The exhibition contains around 200 pieces of Kent’s work, including plans, never realised, for redesigned Houses of Parliament. It also includes examples of his gilt furniture, much loved by some, but loathed by detractors as exemplifying his showy, deceitful style. Julius Bryant, one of the show’s curators and a longstanding Kent fan, says it will challenge ideas of good taste. “People who come expecting English understatement are in for a nasty surprise,” he says. “He was in-your-face and brash. And his clients loved it.”

“William Kent: Designing Georgian Britain” is at the Victoria and Albert Museum, in London, until July 13th From the print edition: Books and arts Source: <http://www.economist.com/node/21599329/print> Accessed on March 20th (adapted.)

Based on the text, it is correct to say that Horace Walpole

Texto 3 para responder a questão.

(23/4/2014) Brasília encontrou um caminho para resolver esta equação inexplicavelmente difícil na Administração Pública brasileira: como sintonizar as políticas públicas de cultura com as políticas educacionais? Por meio de uma ação concreta: a realização da Bienal Brasil do Livro e da Leitura que se consolidou aos olhos da cidade nessa II Edição, de 11 a 21 de abril.

As nações mais avançadas compreenderam a tempo um fato singelo: a educação é o braço que organiza, sistematiza e reproduz as culturas, a capacidade criativa das sociedades. Aí reside seu potencial de desenvolver-se com identidade própria. Com autonomia para afirmar sua diferença diante das demais culturas com as quais dialoga, sem diluir-se.

Ao abrir espaço para debater as relações entre as novas tecnologias – as plataformas de internet – e suas implicações nos processos criativos – alterações de estilo – e de difusão da produção literária – velocidade e alcance – a II Bienal incorpora temas complexos e de alta sensibilidade da cultura contemporânea, como os direitos autorais, na busca de soluções que democratizem o acesso mais amplo à criação e dos desafios que os criadores, escritores, poetas devem enfrentar diante das realidades novas que se afirmam a partir das novas tecnologias de difusão.

PEREIRA, Hamilton. Bienal: Brasília celebrou 54 anos em torno do livro.

Disponível em: <http://www.cultura.df.gov.br/noticias/>. Acesso em: 24/4/2014, com adaptações.

Com relação às estruturas linguísticas presentes no texto, assinale a alternativa correta.

Texto 3 para responder a questão.

(23/4/2014) Brasília encontrou um caminho para resolver esta equação inexplicavelmente difícil na Administração Pública brasileira: como sintonizar as políticas públicas de cultura com as políticas educacionais? Por meio de uma ação concreta: a realização da Bienal Brasil do Livro e da Leitura que se consolidou aos olhos da cidade nessa II Edição, de 11 a 21 de abril.

As nações mais avançadas compreenderam a tempo um fato singelo: a educação é o braço que organiza, sistematiza e reproduz as culturas, a capacidade criativa das sociedades. Aí reside seu potencial de desenvolver-se com identidade própria. Com autonomia para afirmar sua diferença diante das demais culturas com as quais dialoga, sem diluir-se.

Ao abrir espaço para debater as relações entre as novas tecnologias – as plataformas de internet – e suas implicações nos processos criativos – alterações de estilo – e de difusão da produção literária – velocidade e alcance – a II Bienal incorpora temas complexos e de alta sensibilidade da cultura contemporânea, como os direitos autorais, na busca de soluções que democratizem o acesso mais amplo à criação e dos desafios que os criadores, escritores, poetas devem enfrentar diante das realidades novas que se afirmam a partir das novas tecnologias de difusão.

PEREIRA, Hamilton. Bienal: Brasília celebrou 54 anos em torno do livro.

Disponível em: <http://www.cultura.df.gov.br/noticias/>. Acesso em: 24/4/2014, com adaptações.

O bumba meu boi de seu Teodoro

Nas noites de bumba meu boi em São Vicente Ferrer (MA.), onde nasceu, Teodoro Freire punha o pilão na rede em que dormia para disfarçar e saía de casa escondido. A mãe, que temia que o filho se machucasse em alguma confusão, um dia descobriu o truque e deu-lhe uma bronca. Ela foi aceitando aos poucos a participação de Teodoro em festas populares.

Aos 14, o rapaz foi sozinho para São Luís, onde trabalhou em quitanda, como estivador e porteiro. Em 1953, partiu para o Rio, atuou no comércio e organizou o bumba meu boi com a ajuda de um deputado conterrâneo.

Nos anos 60, ao se apresentar com seu grupo em Brasília, recebeu o convite, também de um político maranhense, para ficar na cidade. Já casado com a piauiense Maria Sena, que conhecera no Rio, conseguiu um emprego de contínuo na UnB. Ficaria na universidade, como conta a família, por 28 anos.

Desde 1963, dedicou-se ao bumba meu boi no Centro de Tradições Populares que fundou. Por causa de seu trabalho, recebeu do governo a ordem do mérito cultural em 2006. Ganhou ainda um documentário sobre sua vida.

BERTONI, Estêvão. Disponível em: <http://www1.folha.uol.com.br/fsp/

cotidiano/21386-o-bumba-meuboi- de-seu-teodoro.shtml>. Acesso em: 21/3/2014, com adaptações.

Texto 5.

HORACE WALPOLE, an 18th-century British author and collector, wrote that William Kent “was so much consulted by all who affected taste that nothing was thought complete without his assistance”. Kent was both prolific and polymathic—an architect, sculptor, painter, decorator and designer who dazzled Georgian Britain with his glitzy brand of Palladianism.

His surviving work includes the Treasury and Horse Guards buildings in London, and the interiors and furniture for some of Britain’s treasure houses, including Chiswick House in west London and Houghton Hall in Norfolk. The British artist was the originator of the English landscape garden and was responsible for the reintroduction of Palladian architecture to the country. The newly installed Hanoverian royal family became patrons: he was commissioned by Queen Caroline, wife of George II, to create a library at St James’s Palace, and by Frederick, the king’s eldest son, to design a royal barge. So why has Kent spent the better part of the two-and-a-half centuries since his death being largely disregarded?

A principal reason is that even during his lifetime he was divisive. William Hogarth, a satirical printmaker and a self-appointed champion of Britishness, despised the Italianate Kent. Hogarth called him a “contemptible dauber” and, in a popular print titled “The Bad Taste of the
Town”, showed “KNT” at the apex of the many follies unfurling over London. By the time Kent died in April 1748 the fickle eye of fashion had moved on to the neoclassicism of the Adam brothers and the Gothic revival. Obituaries were perfunctory: most took the same tone as the General Advertiser, which brusquely reported that Kent had died “of a Mortification of his Bowels”.

A new show aims to bring “Kentissime”—a term coined by Walpole—back to the limelight. The exhibition is the third in a collaborative series of monographs exploring Georgian “tastemakers”, organised by the Victoria and Albert Museum in London and the Bard Graduate Centre in New York. It sketches out Kent’s career, from his humble start as the son of a rural joiner and his first job as a coach-painter in Hull. It shows how his fortunes changed at the age of 23 when benefactors sent him to Italy. He returned a decade later as a favourite of the third Earl of Burlington, a young, fantastically wealthy gentleman architect with a deep desire to become the central arbiter of British taste. It was under his patronage and influence that Kent became one of the most sought-after designers and landscape gardeners of the day.

The exhibition contains around 200 pieces of Kent’s work, including plans, never realised, for redesigned Houses of Parliament. It also includes examples of his gilt furniture, much loved by some, but loathed by detractors as exemplifying his showy, deceitful style. Julius Bryant, one of the show’s curators and a longstanding Kent fan, says it will challenge ideas of good taste. “People who come expecting English understatement are in for a nasty surprise,” he says. “He was in-your-face and brash. And his clients loved it.”

“William Kent: Designing Georgian Britain” is at the Victoria and Albert Museum, in London, until July 13th From the print edition: Books and arts Source: <http://www.economist.com/node/21599329/print> Accessed on March 20th (adapted.)